Rembrandt's Inspiration from Mughal Art
Rembrandt van Rijn studied a collection of Indian drawings for a long period. He made a creation of the Mughal Empire including the courtiers, princes, and emperors despite him being from a different culture. He carefully studied the jewelry, clothing, and physiognomy of the Indian rulers and ensured that his drawings considered these unique characteristics of the Mughal dynasty. The Rembrandt collection was brought to Amsterdam and the portraits on the Indian compositions reveal how the painter was inspired to draw in a refined and meticulous style about the Mughal art. Rembrandt linked the art of Mughal India with luxury, trade, empire, and exceptional artifice and he gave attention to all the portraits in a manner that a viewer will find them fascinating. One of the most captivating Mughal paintings was done by ‘Abid (1604-1645). He painted Shah Jahan enthroned with Mahabat Khan and a Sheikh. The portrait from the Late Shah Jahan album was done about 1629-1630. ‘Abid carefully draws the figures, costumes, and accessories to reflect important aspects of the Mughal Empire everyday life.
The Mughal Painting
The Mughal obsession with recording history in the making is seen in the painting of ‘Abid. This painting depicts the Mughal dynasty under the reign of Shah Jahan (1629-1630). The Mughal emperor Shah Jahan can be recognized in the portrait from his characteristic dressing. Furthermore, there is the aureole that was used to distinguish the Mughal rulers since the beginning of the empire. The setting is a ceremony to appoint Mahabat Khan (died in 1634) who is positioned left of the emperor to the position of commander in chief. In addition, the ‘Abid painting discloses the emperor distributing gifts such as textiles, jewels, and coins as it was the tradition of the Mughals. These gifts were a display of the wealth and splendor of the empire at the height of its glory. Schrader (2018, p.33) explains that minting coins was a symbol of the assertion of the power and political legitimacy of the emperors. The coins became an effective means to disseminate and proclaim imperial ambitions and ideals. On the foreground, a figure representing a religious leader is seen standing. The sheikh is offering his blessings on this auspicious event.
About the Artist
‘Abid was a great painter on the history of the first decade of Shah Jahan’s reign. However, there are no clear contemporary records on his life. He was born in India in the 1590s and is known as the son of Aqa Riza and the brother of Abu’l Hasan. The family members were artists who had found favor with the emperor. ‘Abid was precisely trained in the Safavid tradition where he excelled in complex compositions and technical virtuosity. ‘Abid entered the atelier of Emperor Jahangir around 1615. But, he is invisible during the glory days of Jahangir and his works are appreciated during the reign of Shah Jahan. ‘Abid emerged as a major artist after the succession of Shah Jahan. He is known only through a few signed works including the masterful appointment ceremony scene discussed herein.
‘Abid's Unique Style
‘Abid was famous for the court, procession, and battle scenes and most of his works have been preserved in the Windsor Padshahnama which is the official history of the reign of Shah Jahan. ‘Abid concentrated on symmetrical formations and brightened them with intensely dramatized characterizations and complex interplay of surface textures and motifs to create dense decorative effects. He produced numerous portraits of assembled noblemen either as a royal audience or as soldiers in the battlefield. The portraits were always highly individualized representing a strong sense of personality and of authenticity rarely seen in the painting of the period. ‘Abid had a daring and compelling approach to drawing and figure characterization that helped set him apart from his peers. His mastery in drawing techniques identified with the aesthetics of Shah Jahan. The emperor praised the use of jewel-like perfection on all artistic matters. Shah Jahan had a passion for jewelry and for the imperial architecture and he had found a master painter in ‘Abid who was better suited to expressing his wishes. The painting on the Mughal emperors plays a significant role in depicting the changing fortunes of a dynasty across centuries. The painter reflects some aspects of structures as they were in the real world and provides invaluable information about the events that took place as Shah Jahan was enthroned with Mahabat Khan and a Sheikh.
Mughal Dynasty of India
The Mughal Empire presented a unique and fascinating period in the art industry. The images and paintings of the time reflect the life and time of the Mughals. Portraits included animals, hunting scenes, important historical events, holy men, courtiers, and emperors. The Mughal dynasty descended from Genghis Khan and Tamerlane and it was legendary for its power, wealth, and aristocratic splendor. Several paintings were commissioned during the great emperors of the Mughal dynasty. The development of the portraits originated in the Mughal court under Emperor Akbar and it peaked under Jahangir and Shah Jahan. These paintings have met the wide and continuous acclaim that was placed on the painters of this time. The Mughal pictures were appreciated after Rembrandt collected several copies of the portraits and drew them. They were considered charming and a serious creation of an exotic tradition. Outstanding among the Mughal picture series is the ‘Abid picture of Shah Jahan enthroned with Mahabat Khan and a Sheikh. The portrait is a recognizable image of several known individuals as it is a true likeness and representation of the enthronement ceremony. The painter ensured accuracy in order to satisfy the needs of the emperor. The Shah Jahan enthronement portrait serves as an official chronicle or eyewitness account of the ceremony that took place in the Mughal Empire. Furthermore, it is a means of revealing the intimate moments of the everyday life in the empire.
Materials and Techniques
The painting is set in gold and black rulings followed by an inner frame of the gold floral scroll and adorned with flowers in the margins. It has an opaque watercolor ink and mounted on colored paperboard. Abid uses the whole page accurately with the main action taking place in the middle. ‘Abid had given a meticulous attention to the preparation of the paint indicating that the piece was an important concern for him. He carefully draws the figures, costumes, and accessories with different shades of ink. Symbols of sovereignty are evident in the portrait such as the imperial throne that was decorated with shamsas or sunburst medallions which were sometimes composed of jewels and symbolized the divine glory. The shamsas were also affixed to the gates or walls of the Mughal palaces.
The emperor is dressed in a Mughal Jama (robe) and turban. The portrait also depicts Shah Jahan wearing necklaces, bracelets, armlets, and turban jewel that was made of pearls and emeralds. The painting has no specific focal point as it depicts several activities that were happening during the enthronement ceremony. The scene in the portrait is set amidst a number of people who had lined up to witness the ceremony. The importance of the event is clear to the viewer as to those of the people who populate the scene. The scene has been depicted with astonishing realism and proves ‘Abid's ability to experiment with unusual views. Several members of the Mughal dynasty are recognizable from the painting including Shah Jahan, his son, Mahabat Khan, a Sheikh, and soldiers. The presence of the emperor’s son signifies the readiness of continuation of the kingdom.
His touch on the painting varies from restrained and sparse to detailed and fastidious. He adds more extensive shading to the figures with a brush. He displays the architecture of the emperor’s house in an easy and clear manner. Schrader (2018, p.50) states that architecture is a crucial part of an allegorical setting that projects a carefully contrived imperial image. The artist included the canopy that was placed over the Mughal Emperor throne. The canopies played an important role in the empire as "… O shadow of God! May the world be filled with thy light. May light of God ever is they canopy…" (Malecka, p.28). The imperial canopy in the portrait is decorated with golden thread and pearl that are evident to the viewer as they shine. The shining decorations were important as they symbolized the sun rays. The backrest of the Mughal throne is shaped like a sunburst which encircles the head of the emperor. The sunburst is shown on top of the chatrs and decorated with the most precious jewels. The chatr was a symbol of the divine light. The Mughals believed that the light made the imperial reign eternal.
Works Cited
Malecka, Anna. "Solar Symbolism of the Mughal Thrones a Preliminary Note." Arts Asiatiques. 54 (1999): 24-32. Print.
Schrader, Stephanie. Rembrandt and the Inspiration of India. Los Angeles: J. Paul Getty Museum, 2018. Print.
